Hamlet, Fortinbras, and the Time Value of Risk in Shakespeare’s Elsinore

IF 0.1 1区 文学 0 LITERATURE, BRITISH ISLES
E. Wong
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Abstract

Is it better to defend against or assault fortune? By weaving together the adventures of two princes—one who is “risk on” and the other “risk off”—Shakespeare explores the mysteries of risk. While tragic protagonists frequently perish because they take questionable risks (Macbeth committing regicide, Caesar ignoring warnings, or Lear dividing Britain), Shakespeare explores in Hamlet whether caution is risk free. Caution is a source of systemic risk because opportunity is a sliding door and a window. By choosing caution instead of action, the window of opportunity may close. Although both Hamlet and Fortinbras start from similar circumstances and backgrounds, they end up in different places. Fortinbras, by maximizing risk, restores his ancestral prerogatives. Hamlet, by taking a more prudent course, paradoxically fails. Because risk has a time value, Hamlet dramatizes how the greatest risk may be taking insufficient risk. In tragedy, a world where the only thing that can be expected is the unexpected, there are always unexpected ways to fail (or succeed) that cannot be foreseen, but are patently obvious afterwards. When audiences analyze Hamlet with hindsight, they sometimes forget that it was with foresight they enjoyed the play: this is an artifact of Hamlet being too famous. To original audiences, it was unclear until the last whether Fortinbras or Hamlet would prove most royal. Only after the play ends does hindsight become twenty-twenty. Until then, the question of whether to defend against or assault fortune hangs in the balance, fueling drama’s engines.
哈姆雷特、福丁布拉斯和莎士比亚《埃尔西诺》中风险的时间价值
是防御运气好,还是攻击运气好?莎士比亚将两个王子的冒险故事——一个是“冒险”,另一个是“不冒险”——编织在一起,探索了冒险的奥秘。悲剧主角的死亡往往是因为他们冒了可疑的风险(麦克白弑君、凯撒无视警告、李尔王分裂英国),而莎士比亚在《哈姆雷特》中探讨了谨慎是否没有风险。谨慎是系统性风险的一个来源,因为机会是一扇滑动的门和一扇窗户。选择谨慎而不是行动,机会之窗可能会关闭。虽然哈姆雷特和福丁布拉斯的出发点和背景相似,但他们的结局却不同。福廷布拉斯通过将风险最大化,恢复了他祖先的特权。哈姆雷特采取了更为谨慎的做法,却自相矛盾地失败了。因为风险是有时间价值的,哈姆雷特戏剧化地描述了最大的风险可能是承担了不够的风险。在悲剧的世界里,唯一可以预料的就是意外,总是有意想不到的方式导致失败(或成功),无法预见,但事后却显而易见。当观众事后分析《哈姆雷特》时,他们有时会忘记,正是因为有远见,他们才喜欢这部剧:这是哈姆雷特太出名的产物。对于最初的观众来说,直到最后一刻,他们才知道福丁布拉斯和哈姆雷特谁更有皇室气质。只有在戏剧结束后,后见之明才会变成事后诸葛亮。在那之前,是防御还是攻击财富的问题悬而未决,为戏剧的引擎加油。
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来源期刊
Ben Jonson Journal
Ben Jonson Journal LITERATURE, BRITISH ISLES-
CiteScore
0.40
自引率
80.00%
发文量
26
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